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The Obelisk Presents: The Top 20 Short Releases of 2016

Posted in Features on December 30th, 2016 by H.P. Taskmaster

the obelisk top 20 short releases

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.

Yeah, I know I said as much when the Top 20 Debut Albums of 2016 went up, but I take it back: this is the hardest list to put together. And to be honest, there’s a part of me that’s hesitant even to post it because I know as soon as I do someone’s going to be like, “No way you dick your entire existence is shit because you forgot Release X,” and very likely they’ll be right. Up to the very moment this post is going live, I’ve been making changes, and I expect I’ll continue to do so for a while after it’s out there.

So what’s a “short release?” That’s another issue. Pretty much anything that’s not an album. Singles, digital or physical, as well as EPs, splits, demos, and so on. The category becomes nebulous, but my general rule is if it’s not a full-length, it qualifies as a short release. Sounds simple until you get into things like, “Here’s a track I threw up on Bandcamp,” and “This only came out as a bonus included as a separate LP with the deluxe edition of our album.” I’m telling you, I’ve had a difficult time.

Maybe that’s just me trying to protect myself from impending wrath. This year’s Top 30 albums list provoked some vehement — and, if I may, prickishly-worded — responses, so I might be a bit gunshy here, but on the other hand, I think these outings are worth highlighting, so we’re going forward anyway. If you have something to add, please use the comments below, but remember we’re all friends here and there’s a human being on the other end reading what’s posted. Thanks in advance for that.

And since this is the last list of The Obelisk’s Best-of-2016 coverage, I’ll say thanks for reading as well. More to come in the New Year, of course.

Here we go:

scissorfight chaos county

The Obelisk Presents: The Top 20 Short Releases of 2016

1. Scissorfight, Chaos County EP
2. Earthless / Harsh Toke, Split
3. Mars Red Sky, Providence EP
4. Mos Generator, The Firmament
5. Soldati, Soldati
6. Monolord, Lord of Suffering / Die in Haze EP
7. Wren, Host EP
8. Goya, The Enemy EP
9. The Sweet Heat, Demo
10. River Cult, Demo
11. Stinkeye, Llantera Demos
12. Megaritual, Eclipse EP
13. Ragged Barracudas / Pushy, Split
14. Mindkult, Witchs’ Oath EP
15. Iron Jawed Guru, Mata Hari EP
16. Brume, Donkey
17. Bison Machine / Wild Savages / SLO, Sweet Leaves Vol. 1 Split
18. BoneHawk / Kingnomad, The Second Coming of Heavy: Chapter Three Split
19. Wicked Gypsy, EP
20. Love Gang, Love Gang EP

Honorable Mention

An expansive category as ever. In addition to what’s above, the following stood out and no doubt more will be added over the course of the next few days. If you feel something is missing, please let me know.

Presented alphabetically:

Cambrian Explosion, The Moon EP
Candlemass, Death Thy Lover EP
Cultist, Cultist EP
Danava, At Midnight You Die 7″
Dos Malés, Dos Malés EP
Druglord, Deepest Regrets EP
Fu Manchu, Slow Ride 7″
Geezer, A Flagrant Disregard for Happiness 12″
Gorilla vs. Grifter, Split
Holy Smoke, Holy Smoke! It’s a Demo!
Karma to Burn, Mountain Czar
LSD and the Search for God, Heaven is a Place EP
Pallbearer, Fear and Fury
Reign of Zaius, Planet Of…
Sea of Bones / Ramlord, Split
Shallows, The Moon Rises
The Skull, EP
Snowy Dunes, “Atlantis Part I” digital single
Sun Voyager / The Mad Doctors, Split
Valborg, Werwolf 7″

Notes

Was it just the raw joy of having Scissorfight back? No, but that was for sure part of it. It was also the brazenness with which the New Hampshire outfit let go of their past, particularly frontman Christopher “Ironlung” Shurtleff, and moved forward unwilling to compromise what they wanted to do that made their Chaos County so respectable in my eyes. Having always flourished in the form, they delivered an EP of classic Scissorfight tunes and issued a stiff middle finger to anyone who would dare call them otherwise. They couldn’t have been more themselves no matter who was in the band.

At the same time, it was a hard choice between that and the Earthless / Harsh Toke split for the top spot. I mean, seriously. It’s Earthless — who at this point are the godfathers of West Coast jamadelica — and Harsh Toke, who are among the style’s most engaging upstart purveyors, each stretching out over a huge and encompassing single track. I couldn’t stop listening to that one if I wanted to, and as the year went on, I found I never wanted to.

I was glad when Mars Red Sky included the title-track of the Providence EP as a bonus cut on their subsequent album, Apex III (Praise for the Burning Soul), both because it tied the two releases together even further and because it gave me another opportunity to hear it every time I listened to the record. Their short releases have always shown significant character apart from their full-lengths, and this was no exception. I still tear up when I hear “Sapphire Vessel.”

To bounce around a bit: Had to get Mos Generator on the list for the progressive expansion of the live-recorded The Firmament. Stickman was right to put that out on vinyl. Both Monolord and Goya provided quick outings of huge riffs to sate their respective and growing followings, while Megaritual’s Eclipse basked in drone serenity and the debut release from Sergio Ch.’s Soldati provided hard-driving heavy rock with the particular nuance for which the former Los Natas frontman is known. It’s the highest among a slew of first/early outings — see also The Sweet Heat, Wren (Host was their second EP), River Cult’s demo, Stinkeye, Mindkult, Iron Jawed Guru, Brume, Wicked Gypsy and Love Gang.

Ultimately, there were fewer splits on the list this year than last year, but I’ll credit that to happenstance more than any emergent bias against the form or lack of quality in terms of what actually came out. The BoneHawk and Kingnomad release, the Ragged Barracudas and Pushy split, and that heavy rocking onslaught from Bison Machine and company were all certainly welcome by me, and I’ll mention Gorilla vs. Grifter there too again, just because it was awesome.

One more time, thank you for reading, and if you have something to add, please do so in the comments below. Your civility in that regard is appreciated.

This is the last of my lists for 2016, but the Readers Poll results are out Jan. 1 and the New Year hits next week and that brings a whole new round of looking-forward coverage, so stay tuned.

As always, there’s much more to come.

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Quarterly Review: Bus, Them Bulls, Stinkeye, Buzzard Canyon, Motherbrain, Elder Druid, The Crazy Left Experience, The Watchers, Of the Horizon, Raj

Posted in Reviews on December 28th, 2016 by H.P. Taskmaster

the obelisk winter quarterly review

Today is the day the Quarterly Review passes the halfway point. This will be 21-30 of the total 60 for the six days, so there’s still a ways to go — you might say 50 percent — but it’s a milestone nonetheless. Once again it’s another roundup of cool stuff, kind of all over the place a little more than the last two days were, but as we go further along with these things, it’s good to mix it up after a while. There’s only so many times you can throw the word “lysergic” around and talk about jamming. That said, you’re getting some of that today as well from Portugal, so when it pops up, don’t be surprised. Much to do, so no need to delay.

Quarterly Review #21-30:

Bus, The Unknown Secretary

bus-the-unknown-secretary

Athenian double-guitar four-piece Bus execute a stylistically cohesive, crisp debut with The Unknown Secretary (on Twin Earth Records), presenting classic heavy rock elements without going full-retro in their sound itself and marking songs like “Masteroid” as immediately distinct through the harmonized vocals of guitarist Bill City, joined in the band by guitarist Johnnie Chez, bassist Chob D’oh and drummer Aris. Together they run through a clean two sides that play back and forth between proto-metallic and doom shading – “Don’t Fear Your Demon” touches on slower Pentagram – while sounding perhaps most comfortable in rockers like “Withered Thorn” or the earlier stomper “New Black Volume,” which puts its two guitars to excellent use ahead of and between unabashedly poppy (not sure a full Ghost comparison is warranted) verse, and craft a highlight in the 7:38 arena-ready thrust of “Rockerbus” prior to the surprisingly nodding finale of “Jimi.” A strikingly efficient and clear-headed first full-length that would seem to hold much promise of things to come from yet another player in Greece’s emergent heavy scene.

Bus on Thee Facebooks

Twin Earth Records on Bandcamp

 

Them Bulls, Them Bulls

them-bulls-them-bulls.jpg

With the start-stop riff of opener “As Fangs in Stone,” a mastering job by Mathias Schneeberger and the breadth of pop melodicism in cuts that one, the swinging “Made of Ghosts,” and the more percussive “Through the Sun,” Italian four-piece Them Bulls make a pretty strong beeline for early-Queens of the Stone Age-style heavy desert rock. Their self-titled Small Stone debut isn’t without individualized flourish, but the 10-track/41-minute offering makes it clear from the start what its intentions are and then sets about living up to them, whether on the careening Songs for the Deaf-ery of “Pot Gun” or the penultimate “We Must Live Up” itself. Vocal interplay from guitarists Daniele Pollio and Franscesco Pasi – joined by the rhythm section of bassist Paolo Baldini and drummer Giampaolo Farnedi – provides an opportunity for future growth, but it’s worth noting that for a band to take on such a specific stylization, their songwriting needs to be in check, and Them Bulls’ is.

Them Bulls on Thee Facebooks

Them Bulls at Small Stone Records

 

Stinkeye, Llantera Demos

stinkeye-llantera-demos

What seems to be Stinkeye’s debut recording, Llantera Demos, arrives as a free download of four tracks and 16 minutes rife with thickened boogie and dense mecha-stoner fuzz, reminding of Dead Meadow immediately in the echoing vocals and rhythmic bounce of “Orange Man” but moving into some shuffle on the subsequent “Fink Ployd” and “Llantera,” the latter a well-earned showcase of bass tone. While out on the coast, ‘70s vibes reign supreme, the Phoenix, Arizona, trio are on a different tip, looser in their swing and apparently more prone to drift. For what it’s worth, they call it “hash rock,” and fair enough as “Pink Clam,” which closes Llantera Demos, rides more of a grunge-laden nod to an immersive but still relatively quick five-minute finish, building after three minutes in to a satisfying final instrumental push. Loaded with potential in tone, execution, vibe and dynamic between the three-piece, Llantera Demos immediately marks Stinkeye out as a band to watch and is just begging for the right person to come along and press it to tape.

Stinkeye on Thee Facebooks

Stinkeye on Bandcamp

 

Buzzard Canyon, Hellfire and Whiskey

buzzard-canyon-hellfire-and-whiskey.jpg

Want to grab attention with your debut long-player? Calling a song “Louder than God” might be a good way to go. That track, at seven minutes, is the longest on Connecticut five-piece Buzzard Canyon’s Hellfire and Whiskey (on Salt of the Earth), and following a quiet initial stretch, it launches into Down-style Southern chug, the dual vocals of Amber Leigh and guitarist Aaron Lewis (the latter also of When the Deadbolt Breaks) veering into and out of more metallic impulses to build on the initial momentum established on the earlier “Highway Run” and “SomaBitch.” The two-minute “For the End” basks in some nightmarish vision of rockabilly, while “Red Beards Massacre” and “Wyoming” dig into more straightforward stylistic patterning, but if Buzzard Canyon want to get a little weird either here or going forward, that’s clearly not about to hurt them. Closer “Not My Cross” hints at some darker visions to come in how it moves into and out of a droning interlude, adding yet more intrigue to their deceptively multifaceted foundation.

Buzzard Canyon on Thee Facebooks

Salt of the Earth Records website

 

Motherbrain, Voodoo Nasty

motherbrain voodoo nasty

Though “Atomic Rodeo” dips into some Queens of the Stone Age-style groove, Motherbrain’s third album, Voodoo Nasty (on Setalight Records), comes across as more defined by its nasty than its voodoo as the Berlin four-piece demonstrate a penchant for incorporating harsher sludge tendencies, especially in vocal shouts peppered in amid the otherwise not-unfriendly proceedings. That gives the nine-song/48-minute offering a meaner edge but does little ultimately to take away from the groove on offer in the opening title-track or “Ghoul of Kolkata,” and though it retains its raw spirit, Voodoo Nasty digs into some more complex fare later in longer cuts like “Baptism of Fire” and “Half Past Human,” having found a place in centerpiece “Dismantling God” where blown-out noise aggression and semi-psychedelic swirl can coexist, if not peacefully then at least for a while until Motherbrain decide it’s time to give Kyuss-style desert rock another kick in its ass, as on “Sons of Kong,” which, yes, does proclaim a lineage.

Motherbrain on Thee Facebooks

Setalight Records website

 

Elder Druid, Magicka

elder druid magicka

Sludge-rolling five-piece Elder Druid riff forth with their debut studio offering, the five-song/33-minute Magicka EP, which one might be tempted to tag as a demo were it not for a few prior live-tracked short releases that appear to have served that purpose, the latest of which, The Attic Sessions (discussed here), came out in Jan. 2016. The experience of putting that together as well as their prior singles clearly benefited the Northern Irish outfit on Magicka, and while they retain a shouty spirit on opener “Rogue Mystic,” middle cut “The Warlock” offers nod that reminds of The Kings of Frog Island’s “Welcome to the Void,” and that’s about all I ever need. Ever. Served up with bloated tones and geared toward establishing a blend of gruff vocals and consuming fuzz, Elder Druid’s first studio recording has a solid footing in what it wants to accomplish sound-wise and plainly showcases that, and while they have some growing to do and patience to learn in their songcraft, nothing I hear on Magicka argues against their getting there in time.

Elder Druid on Thee Facebooks

Elder Druid on Bandcamp

 

The Crazy Left Experience, Bill’s 108th Space Odyssey

the-crazy-left-experience-bills-108th-space-odyssey

The Crazy Left Experience – the moniker seeming to refer to the side of the brain at work in their processes – present Bill’s 108th Space Odyssey almost as an album within an album. The framework from the at-least-party-improvised Portuguese cosmic jammers on the seven-track/56-minute outing centers around William Millarc, who in 1955 was documented while taking part in LSD experiments. Samples of Millarc are peppered into opener “Subject Bill,” the later “Funky Meteor Drop” and the closing duo “Bill Sided Flashback” and “God of the Outer Rings,” but between the opener and the latter trio of cuts comes “Unarius,” a three-part excursion listed as “Part V” through “Part VII” that presumably is the representation of when our friend Bill has left his body behind. So be it. One can hardly call that departure incongruous either sonically or in terms of The Crazy Left Experience’s chosen theme – though there are some unrelated samples spliced into “Unarius – Part VII (Space Brothers)” that are somewhat jarring – and the entire flow of the record is so hypnotic that the band can basically go wherever they want, which of course they do.

The Crazy Left Experience on Thee Facebooks

The Crazy Left Experience on Bandcamp

 

The Watchers, Sabbath Highway

the watchers sabbath highway

Were it not for the context of knowing that vocalist Tim Narducci and bassist Cornbread hail from SpiralArms and White Witch Canyon, drummer Carter Kennedy from Orchid and guitarist Jeremy Von Eppic from Black Gates, the Sabbath Highway debut EP (on Ripple Music) from California’s The Watchers would be almost impossibly coherent for a first outing. Classic in form but modern in its presentation, the five-tracker – four plus the church-organ interlude “Requiem” between the opening title-cut (video here) and “Call the Priest” – makes the most of Narducci’s ‘70s-style vocal push, reminding of one-time Ripple troupe Stone Axe in his oldschool feel, but as “Today” (premiered here) makes plain, The Watchers are much more focused on learning from the past than repeating it. The straightforward songwriting and all-we’re-here-to-do-is-kick-ass sentiment behind Sabbath Highway might well prove formative compared to what The Watchers do next – presumably that’s a full-length, but one never knows; they sound ready to get down to business  – but it makes its ambitions plain in its hooks and swiftly delivers on its promises.

The Watchers on Thee Facebooks

Ripple Music website

 

Of the Horizon, Of the Horizon

of the horizon self-titled

I can’t speak to the present status of California’s Of the Horizon, since last I heard bassist Kayt Vigil was in Italy working with Sonic Wolves, but their self-titled five-track debut full-length arrives via Kozmik Artifactz no less switched on for the half-decade that has passed since it was recorded. Guitarist Mike Hanne howls out throaty incantations to suit the post-Sleep riffing of opener “3 Feet” and drummer Shig pushes the roll of “Caravan” forward into its final crashing slowdown effectively as Vigil ensures the subsequent centerpiece “Unknown” is duly thick beneath its spacious, jammy strum. The two longest slabs hit at the end in “Gladhander” (8:55) and the righteously lumbering “Hall of the Drunken King” (10:31) and feel somewhat like an album unto themselves, but when/if Of the Horizon make a return, they’ve established a working modus on this first full-length that should well satisfy the nod-converted and that demonstrates the timelessness of well-executed tonal onslaught.

Of the Horizon on Thee Facebooks

Of the Horizon at Kozmik Artifactz

 

Raj, Raj

raj self titled

Though it’s fair enough in terms of runtime, it almost seems like Milano sludge-rollers Raj (also written stylized in all-caps: RAJ) do the six tracks of their 20-minute self-titled debut EP a disservice by cramming them onto a single LP side. Not that one gets lost or the band fails to make an impression – far from it – but just that sounds so geared toward largesse and spaciousness beg for more room to flesh out. That, perhaps, is the interesting duality in Raj’s Raj, since even the massive plod of closer “Iron Matrix” lumbers through its course in a relatively short 4:45, never mind the speedier “Magic Wand” (2:47) or drone interlude “Black Mumbai” (1:51) – gone in a flash. The release moves through these, the earlier “Omegagame” and “Eurasia” and the penultimate “Kaluza” with marked fluidity and efficiency, giving Raj a mini-album feel, and with the atmosphere in “Black Mumbai” and in the surrounding material, their rumble sets up a dynamic that seems primed for further exploration.

Raj on Thee Facebooks

Raj on Bandcamp

 

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Goya Announce Doomed Planet EP Due Oct. 30

Posted in Whathaveyou on October 19th, 2016 by H.P. Taskmaster

This year has brought a plethora of short releases from Phoenix, Arizona, riff merchants Goya. Late in the Winter, their The Enemy EP (review here) felt like a quick turnaround from 2015’s full-length, Obelisk (review here), but as it turned out, that was just the start of it. June brought a reissue of their 2012 demo, Forever Dead, Forever Stoned, on Totem Cat, and just last month, they released a single with two Nirvana covers, Drain You b/w D-7 (review here), on limited vinyl through their own Opoponax Records. Oh yeah, and they’ve got their own hot sauce too.

Go ahead and blink and the three-piece have another EP coming. With three originals and a Marilyn Manson cover, Goya are back again with Doomed Planet on Oct. 30, once more on Opoponax. They’re also getting ready to hit the studio — same day the EP is out — for a new LP due next year called Harvester of Bongloads. Awfully motivated for a band of such apparent intake. Must be all that mind expansion paying off.

No audio yet, but the PR wire brings Doomed Planet art and details:

goya-doomed-planet

Goya to release new EP “Doomed Planet” October 30

Doomed Planet is the third EP from Goya, and their first original material featuring new bassist, Sonny DeCarlo. Coming out on October 30th, Devil’s Night, as a nod to the wanton destruction caused by mankind, This EP features two brand new, epic Goya tracks (“Doomed Planet”, and “Hoof and Bone”), an ambient instrumental track (“Sorrow”), and a Marilyn Manson cover (“Dogma”), continuing the nineties vibe Goya put forth recently with their two Nirvana covers.

“Hoof and Bone” was originally recorded for an upcoming animated film, but was rejected, pushing Goya to record three other tracks to release this EP. Much in the spirit of their first EP, Satan’s Fire, Goya wrote and recorded “Doomed Planet” and “Sorrow” in just a couple of days. In many ways, Doomed Planet is the spiritual successor to Satan’s Fire, using the same general themes of misanthropy and destruction, and evoking similar feelings of darkness through the music.

Doomed planet will be released digitally via Goya’s bandcamp (marijuana.bandcamp.com), and on a limited CD through Opoponax Records (opoponax.bigcartel.com).

Goya will be entering the studio to record their third full length, Harvester of Bongloads on the same day that this EP is released. Harvester is set to be released digitally, on vinyl, CD and cassette during Spring 2017 through Opoponax Records.

Goya, Doomed Planet
1. Doomed Planet 09:01
2. Hoof and Bone 10:53
3. Sorrow 02:41
4. Dogma 03:09

facebook.com/goyastoner
marijuana.bandcamp.com
marijuana.bigcartel.com
instagram: @goyaband
facebook.com/opoponax
opoponax.bigcartel.com
instagram: @opoponaxrecords

Goya, The Enemy (2016)

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Grey Gallows Post “Underlord” Video; LP Due Early 2017 on Opoponax Records

Posted in Bootleg Theater on October 11th, 2016 by H.P. Taskmaster

grey-gallows

Hope your neck is ready for some nod. Phoenix five-piece Grey Gallows are gearing up for a slot this month at Southwest Terror Fest in Tucson, where they’ll play alongside CHRCHSaint VitusThe SkullWitch Mountain and Khemmis, opening the Main Show stage of the venerable gathering’s final day. Not a bad gig to get, but I think if you dig into the band’s video below for “Underlord” from their forthcoming LP of the same name to be released either late this year or early next on Opoponax Records — the label helmed by dudes from Goya — you’ll have to agree their psycho-sludge more than earns that spot.

In the texture and atmosphere of “Underlord,” Grey Gallows convey an ambient dirge that reminds a bit of the spaces that Atala were so able to conjure on their Billy Anderson-produced Shaman’s Path of the Serpent full-length — or, for that matter, what Goya get down with when they’re not off reinterpreting Nirvana tunes — and similar to their stage compatriots at Southwest Terror Fest, by no means is that bad company to keep stylistically. Seems there’s strange things brewing in the desert these days as people begin to ask themselves what’s next after all this riff rock and druggery. It’s a dark swirl that Grey Gallows ignite, but I think you’ll still get a depiction of wide-open spaces through that, and of course the video mirrors that idea.

More background follows the clip below.

Please enjoy:

Grey Gallows, “Underlord” official video

GREY GALLOWS / UNDERLORD

Here it is! Our first video for our title track from our upcoming release “Underlord” on Opoponax Records coming out late 2016- early 2017. Huge thanks to Matt Gibson for making this video for us, Simon Lee for starring in it and Andy for letting us film at Krusty Palmz. Enjoy!

From the album “Underlord” available on Opoponax Records late 2016-early 2017. Video by Matt Gibson.

Formed in early 2015, Grey Gallows set out to create heavy and aggressive tunes. Here is the proof of all the riffing and beer drinking.

Joe Distic-Guitar
Cat-Guitar
Lee-Bass
Shane-Drums
Zue Byrd-Vocals

Grey Gallows on Thee Facebooks

Grey Gallows on Bandcamp

Southwest Terror Fest event page

Opoponax Records BigCartel store

Opoponax Records on Thee Facebooks

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Wolves of Winter to Release Self-Titled LP Nov. 1 on NoSlip Records

Posted in Whathaveyou on October 6th, 2016 by H.P. Taskmaster

Arizona heavy rockers Wolves of Winter have secured a Nov. 1 release for their self-titled debut from NoSlip Records. Preorders are up now through the label and the album is streaming in full below. It was originally put out digitally by the band back in January, but their dudely chug and prevailing focus on songcraft led to their selling through a first pressing of self-released CDs and running off a second prior to this impending vinyl version — which will be limited to 500 copies spread across four different editions — no doubt a substantial portion of which are already gone or otherwise going.

The PR wire had art and details on the subject:

wolves-of-winter-self-titled-700

Wolves of Winter is a Stoner Rock trio based out of Phoenix, AZ. Their sound ranges from classic rock, to grunge, to stoner & doom and back again!

We will have four color variants with this release and they will be pressed on 180 Grams of virgin vinyl, they will be housed in a Gatefold Jacket with art from David Paul Seymour covering both inside panels, the cover art was done by Ghosttown Graphic Art.

The album was mastered by Jeff Harris, Jeff has worked with some greats such as Fleetwood Mac, Eagles and Supertramp, Jeff also worked on the audio crew for the classic Disney film Tron and is now the current lead instructor at the Conservatory of Recording Arts & Sciences.

Die Hard Edition: Transparent Cloudy Clear w/Heavy Purple Splatter. Comes with a Wolves Of Winter Embroidered Patch. Limited to 100 Presses.
Obi Edition: Two Opaque Colors. Limited to 100 Presses.
Band Edition: Transparent Purple. Limited to 180 Presses
Classic Black: Limited to 120 Presses

Track Listing :
A1. Astrothoughts
A2. A New Reality
A3. Tooth and Nail
A4. Start of the Season
A5. Blind Leading the Blind
B1. Devil’s Kiss
B2. Rubber Band
B3. Child’s Reasoning
B4. Manipulation
B5. Try Till Dead

Josh McGee – Vocals, Guitar
Mike Horn – Drums
David Weaver – Bass

https://www.facebook.com/thewolvesofwinter/
https://twitter.com/wolvesofwinter
https://thewolvesofwinter.bandcamp.com/album/wolves-of-winter
http://nosliprecords.bigcartel.com/
https://www.facebook.com/NoSlip-Records-866622996702190/
https://www.facebook.com/events/688762847953038

Wolves of Winter, Wolves of Winter (2016)

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Goya Stream Nirvana Tribute Single Drain You / D-7 in Full; Out Tomorrow

Posted in audiObelisk on September 23rd, 2016 by H.P. Taskmaster

goya-700

Tomorrow, Sept. 24, is the 25th anniversary of the release of Nirvana‘s generation-defining second album, Nevermind. Of course, the truth behind the narrative that that record single-handedly reshaped the rock and roll of its time is actually more complicated — even Nirvana were taking influence from Earth and the Melvins — but the level of impact is ultimately impossible to overstate because it’s still ringing out a quarter-century later. To wit, Phoenix, Arizona, trio Goya, in bringing in their new bassist Sonny DeCarlo, bonded over their collective experience with the music of the one-time Seattle forerunners, and the result was the recording of this new single, Drain You / D-7, which will be used as part of a split vinyl with Aneurysm, from Boston, later this year or early in 2017. For now, GoyaDeCarlo, guitarist/vocalist Jeff Owens and drummer Nick Losegoya-drain-you-d7will release the songs digitally tomorrow via their own Opoponax Records imprint, to coincide with the aforementioned anniversary.

No doubt that if it’s not already the internet will be flooded with thinkpieces this weekend and for probably the next month waxing various levels of nostalgic about Nevermind, but let me just say that as someone just beginning to come of age at the time, it was legitimately a transformative moment. For me it wasn’t ever just about NirvanaAlice in Chains, Primus, Metallica, C.O.C. played early roles — but they were certainly a factor, and the death of Kurt Cobain just three years later in 1994 was a moment at which a generation pulled together to mourn as a collective in a way that one hadn’t probably since John Lennon and wouldn’t again until David Bowie or Prince passed away — these huge figures of their times. Goya give due respect to the catchy punk of “Drain You” and the rawer “D-7” — itself a Wipers cover taken on by Nirvana as the B-side to the “Lithium” single — while remaining set with their own thicker tones as shown last year on their second full-length, Obelisk (review here) and earlier-2016’s The Enemy EP (review here).

In addition to the coming Goya/Aneurysm split that will contain these tracks, The Enemy will be released on vinyl Oct. 8 through STB Records. Both “Drain You” and “D-7” can be streamed on the player below, and under that, you’ll find a quote from the band about the making of the single and more info on the EP vinyl.

Goya will have a new album out in 2017.

Enjoy:

Jeff Owens on Drain You / D-7:

Nirvana are a heavy influence on all three of us from our youth. There was a recent article calling Nirvana the most coverable band of all time, due to the simplicity and catchiness of their songs, and there’s certainly something to that. It’s easy to get bogged down with trying to do something “different”, or worrying that the notes you’re playing are too “predictable”, but we feel it’s important to listen to that inner voice telling you that the next note is obvious. Despite what some would have you believe, there’s nothing wrong with standard chord progressions, and that is one of the greatest strengths of Nirvana. Sometimes, a song writes itself, and there’s no reason to fight it or twist it. We all still consider ourselves fans of Nirvana, and we are all fans of basic chord progressions and a more punk approach to writing music, so it’s been a lot of fun for us putting this release together and playing these songs live, and we hope that that comes through in listening to them. And who knows? Maybe it will even have some sort of influence on our writing process as a three-piece in the future.

2016 marks Phoenix, Arizona-based stoner doom trio GOYA‘s fifth year as a band. After singer/vocalist Jeff Owens and drummer Nick Lose recently recruited Sonny DeCarlo on bass, they wanted to get into the studio as quickly as possible to celebrate what they could bring together. Knowing that it takes time and care to craft original material, they decided to record a couple of covers for the time being. All three members grew up in the ‘90s, so the logical choice of band for them to cover was Nirvana, particularly with the twenty-fifth anniversary of Nirvana’s seminal album Nevermind full-length on the horizon.

After only a few rehearsals together, they entered Switchblade Sound in Tempe, Arizona to track “Drain You” and “D-7? with long-time friend and ex-GOYA bassist, Joe Asselin, who recorded their last album, Obelisk. Though “D-7? is originally by ‘70s Portland punk band, Wipers, and was later covered by Nirvana, GOYA plays it in the true spirit of Nirvana. The tracks are mastered by Brad Boatright (Obituary, Sleep, Magrudergrind, Gatecreeper et al).

Their last EP, The Enemy, is being released through STB Records, who released their 2015 full length, “Obelisk”. Goya will be hitting the studio in the fall to record their follow-up to “Obelisk”, due in Spring 2017.

Goya have shared the stage with countless bands (Sleep, Windhand, Dead Meadow, Valkyrie, etc.), and have performed at Psycho Las Vegas, Southwest Terror Fest, and Day of the Shred. Having no plans to stop here, Goya are poised to extend their reach in 2017. The songs they are hitting the studio with in the fall show them to be pushing their sound further than ever before.

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Goya to Release Two-Song Nirvana Tribute Drain You / D-7

Posted in Whathaveyou on August 26th, 2016 by H.P. Taskmaster

Arizona trio Goya aren’t at all far removed from the June release of their latest EP, Forever Dead, Forever Stoned, but they’ve already got a new offering in the works, this time taking on two tracks in homage to grunge gods Nirvana. Apparently something of a bonding point for the members of the band — children of the ’90s, arise! — the two cuts “Drain You” and “D-7” (the latter originally by Wipers) will be issued via Opoponax Records as Goya‘s half of a split vinyl with Boston’s Aneurysm later this year or early next. For now, Goya have “Drain You” streaming as a lead-in for their performance this weekend among the riffy throng at Psycho Las Vegas, and you can check it out below.

From the PR wire:

goya drain you d7

GOYA: Arizona-Based Stoner Doom Trio To Release Limited Edition, Two-Song Nirvana Tribute; Band To Play Psycho Las Vegas This Weekend

2016 marks Phoenix, Arizona-based stoner doom trio GOYA’s fifth year as a band. After singer/vocalist Jeff Owens and drummer Nick Lose recently recruited Sonny DeCarlo on bass, they wanted to get into the studio as quickly as possible to celebrate what they could bring together. Knowing that it takes time and care to craft original material, they decided to record a couple of covers for the time being. All three members grew up in the ’90s, so the logical choice of band for them to cover was Nirvana, particularly with the twenty-fifth anniversary of Nirvana’s seminal album Nevermind full-length on the horizon.

After only a few rehearsals together, they entered Switchblade Sound in Tempe, Arizona to track “Drain You” and “D-7” with long-time friend and ex-GOYA bassist, Joe Asselin, who recorded their last album, Obelisk. Though “D-7” is originally by ’70s Portland punk band, Wipers, and was later covered by Nirvana, GOYA plays it in the true spirit of Nirvana. The tracks are mastered by Brad Boatright (Obituary, Sleep, Magrudergrind, Gatecreeper et al).

These songs will be released through Owens’ label Opoponax Records on a limited-to-100 lathe cut seven-inch on Saturday, September 24th. The band will have a very limited amount for sale at their appearance at Psycho Las Vegas THIS WEEKEND. “Drain You” will also appear in late 2016 or early 2017 as GOYA’s half of a split 7″ with Boston punk unit, Aneurysm, also to be released by Opoponax Records.

For preorders and to stream “Drain You” visit THIS LOCATION.

GOYA:
8/27/2016 Hard Rock Hotel & Casino @ Psycho Las Vegas – Las Vegas, NV
9/10/2016 Valley Bar – Phoenix, AZ

http://www.facebook.com/goyastoner
https://marijuana.bandcamp.com/album/drain-you-d-7
http://opoponax.bigcartel.com/product/goya-drain-you-d-7-lathe-cut

Goya, “Drain You”

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Goya, Obelisk: An Invitation to Burn

Posted in audiObelisk, Reviews on July 21st, 2015 by H.P. Taskmaster

goya obelisk

[Please note: Press play above to stream Goya’s Obelisk in full. Album is out Aug. 1 on STB Records (CD & tape; LP to follow). Thanks to the band and label for letting me host the stream.]

Obelisk is the well-titled second full-length offering from Phoenix, Arizona, three-piece Goya. Set for release through respected purveyor STB Records, it follows 2013’s 777 debut and their initial 2012 demo (review here), as well as a 2014 EP, Satan’s Fire (review here), and an early 2015 split with Seattle’s Wounded Giant (review here) that found them dug deep into Electric Wizard-style plod on the extended “No Place in the Sky.” What was an early version of the track there is refined on Obelisk and given due reverence in its position as the 14-minute closer, following a swath of dirge riffing, devil-worship and malevolent churn.

I can’t quite decide if the album knows how much fun it’s having as it conjures its darkened chaos-swirl, but suffice it to say, a song like opener “Nothin’ but Dead Stuff” might not be a laugher in terms of its lyrics, but from the opening watery guitar provided by Jeff Owens (also vocals) that unfolds Oborn-again over the swinging ride of drummer Nick LoseJirix-Mie Paz plays bass on the record but seems to have since been replaced by Ben Clarkson — to the penultimate “Echo from Space” interlude of feedback before “No Place in the Sky” takes hold, it becomes abundantly clear that Goya are absolutely dug into the grooves of their own making and are enjoying the crap out of the heavy roll they enact across Obelisk‘s nine-track/55-minute span.

That being the case makes it much easier to follow suit. Goya have their variety in structure and approach — the aforementioned “Echo from Space” serves well as a late interlude, and the quiet ritualized vibe of “The Star” after second track “The Devil’s Pray” does likewise, while “300 Eyes” cuts to the heart of their songwriting with an acoustic modus and layered vocals and “The Sun,” which follows, is a standout for its speed alone — but the crux of Obelisk‘s overarching atmosphere and the impression it leaves resides in cuts like “Nothin’ but Dead Stuff,” “The Devil’s Prey,” “Beyond Good and Evil” and “No Place in the Sky,” Goya making a case to establish their own witchcult in bouncing riffs and Satanihilist vibing. Taken on their surface, these parts of Obelisk aren’t especially surprising — 777, Satan’s Fire, that Wounded Giant split and even the early demo carried a similar influence base, but it’s what the trio have managed to bring to it of their own that distinguishes their work.

To wit, the patience of the 7:46 title-track, “Obelisk,” becomes a defining moment for more than the simple fact that the song also shares its name with the album. Its slow unfurling is deceptively graceful, and while one hesitates to call Goya subtle since that doesn’t really seem to be what they’re going for, they’ve cleverly managed to begin a process whereby having mastered their influences, they’re starting to move beyond them. That’s not necessarily a one-album process, but if you listen to the shifts between “Obelisk,” “300 Eyes,” “The Sun” and “Beyond Good and Evil,” it becomes clear there’s more to the band’s approach than buzzsaw tones and space-echo vocals.

goya (photo by Chas McElmury)

Not to say neither of those elements aren’t present and/or put to good use, just that they’re not exclusives for the band at this stage in their development. The effect that has is that when the quicker push of “The Sun” gives way to the lumbering, weighted crash of “Beyond Good and Evil,” the latter is all the more righteous. Likewise, back on side A, the gradual buildup of “Obelisk” is all the more worth appreciating after “The Devil’s Pray” and “The Star” lead into it — bottom line: the album isn’t short at 55 minutes, but it is impeccably structured to highlight Goya‘s tonal and conceptual strengths. When it comes around, “No Place in the Sky” fuzzes to life with Owens‘ guitar setting the pace and sets itself to the complex task of tying the various sides of Obelisk together.

Cohesive as the album is atmospherically — and it is — that’s not an easy task to ask of one song, even at 14 minutes. Still, “No Place in the Sky” reinforces the mood the band has worked with for the duration, the godlessness that served as theme in “The Devil’s Prey” and “Beyond Good and Evil,” and the rolling rhythms of those tracks and the opener without losing sight of making its own impression, which it does in the second half centering around memorable cycles through and around the line, “It doesn’t fucking matter.” I’m not sure the fuckall is quite the guiding principle the band would have the listener believe — if it was, they probably wouldn’t have paid so much attention to the flow of the record between its songs — but you gotta end somewhere and, as I say, “No Place in the Sky” makes for a memorable finish, rounding out its last minute with a slowdown and crash that lets the amp buzz carry Obelisk to its conclusion.

What will be a readily accessible listen for the already converted, Goya‘s second offers evidence of growth undertaken, provides glimpses of what might develop down the line, finds the band reveling in their processes and hits like a hammer made of pills. There is little one might ask of it that it does not deliver.

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